Design+Make Volland, KS

VOLLAND KANSAS IN COLLABORATION WITH EL DORADO INC

AN ARTIST RESIDENCY PROGRAM

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Contents

1.

2.

INTRO

BACKGROUND

3.

COMMUNITY ENGAGEMENT

4.

SITE CONTEXT

STUDIO INTRO

6

THE RAILROAD

12

VOLLAND EVENTS

22

LOCATION

46

PROJECT TEAM

7

VOLLAND STORE

14

ART EXHIBITIONS

24

EXISTING STRUCT.

54

PROJECT GOALS

8

RANCHERS

16

COMMUNITY EVENTS

26

RUINS

64

POPULATION

18

INTERVIEWS

30

3

5.

TUNING IN TO VOLLAND

6.

PROGRAMMING

NIGHT STUDY

68

PRECEDENT STUDIES

88

SIGNAL

78

S.W.O.T. ANALYSIS

REJUVENATION

82

PHASE 1: RESIDENCY 114 DEVELOPMENT

112

PHASE 2: COMMUNITY FOOD ENGAGEMENT

118

PHASE 3: LODGING EXPANSION

120

7.

CONCEPTS

SOUTHERN HOUSE

124

MIDDLE HOUSE

134

NORTHERN HOUSE

140

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1.

INTRODUCTION

STUDIO INTRO PROJECT TEAM PROJECT GOALS

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INTRODUCTION

THE VOLLAND STORE PATTY REECE

EL DORADO INC Architecture & urban design

DESIGN MAKE STUDIO Kansas State University M. Architecture Students

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PROJECT TEAM

DESIGN TEAM MEMBERS David Dowell Hesse McGraw

El Dorado inc.

El Dorado inc.

Amber Summers Angel Llanes AR Zhang Austin Ungerbuehler Dipen Patel Evelyne Chokkattu Jonathan Eden Karl Ndieli Kaydee Seematter Keegan Amos Lucas Downes Nicole Bauknight Tanner Lopez

Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017 Design Make Studio 2017

CLIENT GROUP Patty Reece Jerry Reece

The Volland Store The Volland Store

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INTRODUCTION

PROJECT GOALS

PROJECT GOALS 1. Expand Artist Opportunity 2. Create Unique Community 3. Reestablish as a Cultural Center

PROJECT SCOPE 1. Develop Tuning Exercise for Volland 2. Develop Artist Residency Program 3. Design Residency Living and Working Spaces 4. Implement Residency Program 5. Expand Residency Program

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PROJECT DETAILS

FLINT HILLS ARTIST RESIDENCY PROGRAM This residency seeks to create connection and conversation across the Great Plains by inviting applicants who currently live in a place that is ecologically considered prairie (though it may be paved and urbanized!). Ideal applicants will have a strong body of work with a voice that reflects the artist’s own community; a dedication to place, and an interest in participating in a contemporary dialogue.

PATTY REECE The granddaughter of a West Texas farmer, Patty learned to love the land at an early age and that affection has never abated. Moving to Kansas as a newlywed, she was captivated by her first experience of the Flint Hills. It felt like discovering a very old and primeval place of extraordinary beauty.

TALL GRASS PRAIRIE Though only a fraction of the unique tall-grass ecosystem remains, the prairie has been instrumental in constructing a narrative and identity of the North American Midwest. Given the prairie’s geographic location, this vast sea of grass has remained significant to the people’s who have occupied it.

THE TOWN OF VOLLAND, KANSAS Volland and the Kratzer Brother’s store prospered under the twin industries of ranching and the railroad, this history remains evident today. The scenic drive from Alma boasts many ranches, and as one approaches from the east on Old Highway 10, a feedlot marks the turn into Volland. A hundred feet south of the store, the Union Pacific runs frequent freights, whose passing whistles recall the days when Volland was a vital stop for fuel, water and lunch.

Source: Tall Grass Artist Residency & The Volland Store Website

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2.

BACKGROUND

Railroad The Volland Store Farmers & Ranchers Population

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BACKGROUND

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RAILROAD & THE EVOLUTION The Chicago Rock Island & Pacific Railway, served the town located along Mill Creek in Washington Township of Wabaunsee County, Kansas. In addition to creating a depot, which provided passenger and freight service, the railroad also created a railhead, providing a shipping point for cattle being moved in and out of the Flint Hills pastures. The Rock Island depot also was the home of the Western Union telegraph station which first provided nationwide communication for the town. Telegraph lines ran along the railroad tracks, and when the telegraph office was established in 1887. Many of the railroad maintenance workers and the section gang members lived along the tracks at Volland in tiny houses and makeshift barracks buildings crafted from old boxcars. The depot was a popular spot for men to gather, waiting for trains to bring freight and cattle

into town. The railroad’s presence was strong in Volland during the first half of the 20th century.

After diesel-powered electrically driven locomotives became standard on the Rock Island line, it was not necessary for every passing train to stop to fill with water. So, a pole was erected along the tracks to which outgoing mail bags were attached, allowing mail trains to snatch the bag as they passed. The inbound mail bag was thrown from the train onto the railroad right-of-way.

For the first 75 years of Volland’s life, the Rock Island Railway played a big role in the growth and subsistence of the Flint Hills town. An Artery that fed the town of Volland, Kansas eventually severed as technology and time advanced, proving to be the end for Volland as it was in the mid 20th century.

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BACKGROUND

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THE VOLLAND STORE Volland, Kansas was founded in the late 1800swhen Rock Island Railroad built a depot at the towns edge. On October 18, 1913 Kratzer Brothers Mercantile opened in Volland, built by brothers Otto and Bill. Filled with merchandise and serving as a post office with two telephone lines,the store quickly became a cultural hub for the surrounding community. After the store closed in 1971, the building sat empty for 30 years. In 2013, a couple from Kansas City purchased the building, deciding to turn it into an art gallery with a small living space serving as an artist’s retreat. While the roof, second and third floors had collapsed, the masonry shell was left structurally intact. The design team laid out a floor plan similar to the original: a large, open space at the front for events and exhibitions where the general store was, and a second-story living space at the back, above a catering kitchen and restrooms. The majority of the second story was not rebuilt, leaving the gallery open, flexible and filled with light. The design solution was simple, relying on clean forms and honoring the integrity of original materials and context of the surrounding tallgrass prairie.

Source: El Dorado Inc.

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BACKGROUND

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FARMERS RANCHERS “At one time, Volland serviced around 400 people in the area – farmers and ranchers who would come to the store to shop,” Reece says. “About 30 railroad workers lived there. Ranchers would bring cattle up from Texas to be fattened for the summer eating Flint Hills grass, then ship them off to market.”

The train station which was once the heart and soul of the town, the very reason it came to be, was used to import and export goods, farm products and fattened cattle raised right around the town in the Flint Hills. The store, too, was the farmers’ center of communication and retail destination.

sections crews from the Rock Island, farmers and their families all generated an atmosphere of excitement and enterprise in little Volland... But little by little, the population shrank. As early as 1900, some original homesteaders had sold up and moved on. The years between the world wars were good ones in Volland, but from 1930 to 1950 the town’s future became clear. The Depression knocked out some farmers, and World War II sent township residents off to urban factories and overseas, never to return.

The ranches that survived the Depression got bigger but needed fewer hands. Trucks began hauling cattle on roads that were paved, not gravel.”

“Cowboys from the stock pens, Source: KCUR’s Website, the Volland Store Website

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BACKGROUND

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POPULATION

Volland is a small town amongst other small towns within the Wabaunsee County of Kansas; it is located nearby the small community of Alma with a population of 802.

However, over a hundred years later, the town began renovating the dilapidated store and celebrated its history and the spirit and charm of Otto was revitalized thanks to Patty Reece.

The population of Volland started off in 1910 as 26 people. However, in 1913, the Volland Store drew in residents and the town grew. The store became a lifeline for the town as ranchers used Volland as a gathering place. The population of the town peaked at about 400 people.

Once Otto Kratzer was forced to closed the store in 1970, the town experienced a decline in population.

Source: Kansas City Star, KCUR’s website, Panoramio’s website

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3.

COMMUNITY ENGAGEMENT VOLLAND EVENTS ART EXHIBITIONS COMMUNITY EVENTS ARTIST INTERVIEWS RESIDENCY INTERVIEWS

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COMMUNITY ENGAGEMENT

Image from Volland Store Website

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VOLLAND EVENTS

Image from Volland Store Website

Image from Volland Store Website

The Volland Store is not only an art gallery, but it is a place for the community to gather and share memories, experiences, and each other. Being an intrinsic piece of Volland’s history, the Store is the perfect place for people to gather.

Whether patrons have been in the area for decades, or whether they stumbled upon Volland; these gatherings are what gives Volland it’s charm and appeal. Countless events have been held at the store, and this residency aims to offer many more events to bring the community together in order to continue the wholesome culture in Volland.

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COMMUNITY ENGAGEMENT

Installation by Tom Parish

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ART EXHIBITIONS The Volland Store has been home to a multitude of Artist’s work in the short time it has been established as a gallery. The subject matter has ranged from Kansas Cellars to Vintage American Quilts.

Regardless of the medium or style, the community is drawn in by the art shown at the Store. This residency will produce countless new exhibitions that will continue to impact the local community.

Photo by John Olson

Photo by Patty Carrol

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COMMUNITY ENGAGEMENT

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LOCAL COMMUNITY EVENTS Volland is located within a network of farmer and rancher communities that make up Wabaunsee County. The closest town is Alma, a small commuter town.

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COMMUNITY ENGAGEMENT

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CITIZENS OF ALMA A SMALL TOWN PERSPECTIVE Alma, Wabaunsee County, KS

A small commuter town; 10 minute drive from Volland.

Population

851 Residents. 7051 residents in the county.

Interviewers

Kaydee Seematter Evelyne Chokkattu Aoran Zhang Austin Ungerbuehler

Wabaunsee County - Generally has an older population.

According to the 2010 census, the most residents of the area are above the age of 45.

Recently however, there has been an influx of newly grads, young parents and recently married couples.

Activities in Alma: Most kids at the school who are involved in one sport are likely to be involved in all sports. Youth recreation sports.

Dance Studio; The Dance Spot -- preschool age to high school age - compete nationally. They participate in events throughout the county but do not host their own dance events.

Farming and Ranching -- farmers and ranchers host their own annual mulligans for friends and people who’ve worked with them.

All residents felt the community would benefits from more community events, recreational activities, a sit-down restaurant and a place to stay overnight.

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COMMUNITY ENGAGEMENT

Works from Vintage American Quilts Collection by Elizabeth Wilson

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ARTIST INTERVIEWS In order to form a creative environment that influences artists, it is vital to gain an understanding of the way they work, think, and see the world around them. Multiple artists have been interviewed and given insight into their lives and work. From this information, a more interesting, impactful, and effective residency can be designed.

Image from Volland Store Website

Image from Volland Store Website

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COMMUNITY ENGAGEMENT

HESSE MCGRAW Artist Curator Principal at Eldo

Title

Principal at El Dorado Architects

Occupation

Artist and Curator

Other Accomplishments

Chief Curator Bemis Center for Contemporary Arts in Omaha, NE

Founding director and curator of Paragraph Kansas city, MO Interviewers Jonathan Eden Angel Llanes

Summary Hesse, A renowned artist, curator,and critic, is currently a principal at El Dorado Architects in Kansas City. He has worked closely with many upcoming and accomplished artists such as Michael Jones McKean. From 2008 to 2013 McGraw served as chief curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska, where he developed an exhibition program focused on site-specific, immersive, cross-disciplinary, and socially engaged projects, including major projects with artists Theaster Gates and Michael Jones McKean. He holds a Bachelor’s of Fine Arts from University of Kansas and A graduate Degree from European Graduate School in Saas-Fee, Switzerland1. Hesse serves as a consultant on artists and artist residency programs to Patty Reece, the client, and El Dorado Architects. Hesse’s expertise with artist residencies makes him invaluable in the organization and programming of the future Volland Residency.

Some insights provided by Hesse on residencies include: engagement of local artists, curator expectations, connection between artist and community, scale, and place making. The major attributes of the residency must include community events and engagement through food and social interaction via art talks, open studios, Pecha Kucha (brief 6 minute) presentations, and/or gallery events. To foster community engagement with the artist, many programs utilize food as a bridge for social interaction with the creators. He notes that the most successful programs provide stipends for their residents. These funds can be raised through a variety of ways including grants, application fees, and private donors.

Many residencies experience the best production of work by providing freedom without expectations and the ability to explore their creative potential through various mediums. He explains that the outreach to communities should be lightly structured to allow for impromptu interactions. Volland needs to become a destination by creating density, Hesse recommends between 6-8 artists to be in residence at a time to create this required density.

Through phasing the program can eventually reach this scale of on-site residence. To create place, Volland requires amenities as it acquires residence over time. These amenities may be subject to the types of artists Volland attracts, whether they be accomplished or Sunday painters.

1

“Hesse McGraw.” San Francisco Art Institute, SFAI, www.sfai.edu/bios/hesse-mcgraw.

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ABBEY BLAKE Print Making Artist

Title

Artist at the Tallgrass Artist Residency

Occupation

Artist/Student

Other Accomplishments

Has attended multiple artists residencies

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Abbey is a young developing artist who’s media focus is the abstraction of environments through print making, and robotics. She is currently finishing her education career which is how she was able to attend the Tallgrass residency in Matfield Green. She explains that the location of the residencies in which she has attended is very important to her. Tallgrass was an unique experience because it was her first time visiting the rolling prairie landscape of Kansas, which influenced the artwork she created during the residency program. At her current stage in her artist career the amount of time spent at Tallgrass was the proper amount for her. It allows time for inspiration, but not as much time for creation of work during that period. Another major positive experience for her was the isolation and the independence that the residency program gave her. She wished that the program would have focused more on community outreach but enjoyed coming back months later to showcase her work at The Bank Art Space.

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COMMUNITY ENGAGEMENT

LEVI ROB Artist & Architect

Title

Founder of Tallgrass Artist Residency

Occupation Artist

Other Accomplishments

Kick started the Tall Grass Artist Program in 2015

Interviewers

Karl Ndieli, Tanner Lopez

Summary Levi Robb is an artist from Des Moines Iowa specializing in printmaking, sculpture and installation.

Having spent a fair amount of time in Volland, Levi had a couple of things to say about creating in the flint hills. He was attracted to the small world feel of the Wabaunsee community. It reminded him of his little town origins in Iowa. In terms of maximizing the aesthetic of the surrounding landscape, Levi thinks that the buildings on the site already pay sufficient attention to the context of the landscape. The way the structures complement the area in such a historically accurate aesthetic is valuable when it comes to comprehending the context and character of Volland. As a result of the fact that his work is extremely site specific, Levi is of the opinion that Volland could be a gold mine of subject matter for any artists interested in contextual work.

Levi responds to the spatial conditions he comes across through observation and analysis. When he searches for artist residencies, context, people and setting is of uttermost importance. This along with the opportunity to interact with various other artist of different mediums. Creating an avenue for optional seclusion while simultaneously fostering the opportunity for interaction over dinner (for example) is valuable to creating a strong residency experience. In terms of accommodation, the amount of comfort provided to an artist would directly depend on the length of the artist’s residency. But regardless of the length of the artists stay accommodation (like natural Lightning and sufficient space) should be made to ensure that the artist is able to fully express themselves. Preferences vary but most artists don’t mind creating in their living spaces. Having a workshop in close proximity to one’s living space can help to bolster productivity. Considering how remote Volland is, provisions need to be made to ensure the artist creative process is not hindered in any way. Streamlining the process by which artist may be able to receive the materials needed for their work will be extremely beneficial to the work flow of the entire residency. With the current gallery space (in the store), it’s a little challenging to ensure that the display subjects are appropriately lit. To combat this, (depending on the installation), augmented lighting in an entirely different space may be the solution. In conclusion the most important aspect of Volland is it’s context; the people and how/where they live. The final aim of the created program should be to further foster that sense of community that is already so neatly stitched into the community.

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COREY SMITH Performance Art

Title

Artist at the Tallgrass Artist Residency

Occupation Artist

Other Accomplishments

Performance artist in Chicago

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Corey is a young artist based in Chicago who’s main media is interpretive theatrical performances. Corey explained the challenge of transportation to the isolated residency, indicating that this is a main issue for many artists who may not have the funds to visit a residency such as Tallgrass. His art was inspired by the residency rather than produced during the residency as it fits within a larger community connection project that he has been working on for multiple years now. He expressed that the time at the residency was lonely but not debilitating, as it allowed him to experience the real world landscape around him, but he was not able to interact with many residences of Matfield Green. An important quality of artwork for Corey is the relationship between art, culture, and place where art is created through the interaction of culture and place. He also noted that the short time span of the Tallgrass residency provided good pressure to encourage the development of his work and allowed him to integrate it into his professional work schedule.

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COMMUNITY ENGAGEMENT

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RESIDENCY INTERVIEWS Every artist residency uniquely allows for the free expression and creation of artwork. Expectations and requirements vary greatly, however, it is the relationship between the resident and the host is often an important aspect of a residency program. They provide a time of reflection, research, presentation, production and immersion into a new culture while often allowing an individual to explore their practice within another community. Some residency programs are incorporated within larger institutions such as museums, universities, galleries, studio spaces, theaters, artist-run spaces, municipalities, governmental offices, and even festivals, while many others are independently operated entities.

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COMMUNITY ENGAGEMENT

KELLY YARBROUGHFRASIER

Tall Grass Artist Residency

Title

Founder of Tallgrass Artist Residency

Occupation Artist

Other Accomplishments

Kick started the Tall Grass Artist Program in 2015

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Kelly is an artist educator who founded the Tallgrass Artist Residency in Kansas. Her focus on the residency program has brought a major grant from the Kansas Creative Arts Industry Commission to fund the Tallgrass program. She has a long history of creating art and working as an educator at Kansas State University where she also attained her Master’s degree in fine arts. She has held a variety of exhibitions throughout the Midwest and has proven her capabilities as a residency director with the increasing popularity of the Tallgrass program. As a native from Plano, Texas Kelly found herself in Manhattan, Kansas and was surprised of all the activity going on in Central Kansas. Her residency program transpired through the possibility of a partnership with the small town of Mattfield Green and the Tallgrass Prairie National Preserve which she is still captivated by. Her focus on the residency program has brought a major grant form the Kansas Creative Arts Industry Commission to help fund the Tallgrass program. She has a long history of creating art and working as an educator at Kansas State where she obtained her Master’s degree in the Fine Arts. She has held a variety of exhibitions throughout the Midwest and has proven her capabilities as a residency director with the increasing popularity of the Tallgrass program.

Tallgrass Artist Residency functions on an annual bases that brings around 8-10 resident artists that attend the program in the Spring into the Fall. The program starts around late March or early April and runs through September with closing events that hold group exhibitions and talks with the artists.

Tallgrass brings artists that are currently living in a place ecologically considered a prairie. It ranges all across North America and even into Canada.

Their first year as an artist residency, Tallgrass had around 30 applicants which then jumped to 99 applicant in their second year. This past year the applicants came from a wide range stretching across the US with applicants from 16 different states and even some from Canada. The Tallgrass Artist Residency program is a young but flourishing program that will continue to expand and become more successful through the coming years.

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LAURA BERMAN Prairie Side Cottage

Title

Prairieside Cottage and Outpost

Occupation Artist

Other Accomplishments

Kick started the Prairieside Program in 2014

Interviewers

Keegan Amos Dipen Patel

Summary Laura Berman, along with her husband, is the founder and director of the Prairieside Cottage and Outpost located in the Flint Hills of Kansas. She is a native of Barcelona, Spain where she discovered her love for pattern, design, and bold colors. Her work primarily focus’s on the relationships and recombination of forms that relate back to her nomadic history of relocation and travel. Laura’s work has been featured in many books such as The Book of Probes by David Carson and Marshall McLuhan, Printmaking at the Edge by Richard Noyce, Contemporary American Printmakers by Roone, Standish, and A Survey of Contemporary Printmaking by Ehlers, Ehlbekc and Muise. Prairieside Cottage and Outpost started in 2014 that operates as a two tiered business which doesn’t only allow artists to attend but it is open for regular families to rent the space as well. During their first year in business there wasn’t any applications to attend it was only by word of mouth to bring in an artist residence. Networking was a big part of how their program functioned for its early stages of existence. It wasn’t until after the first two years when Prairieside offered applications from anyone that are for one year periods. Prairieside Cottage is a very experimental artist residency and at the time they allow artist to attend for free or at a reduced stay. The Prairieside Cottage and Outpost is a partner with other artist residencies that are part of a larger group called the Tallgrass Artist Residency.

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COMMUNITY ENGAGEMENT

PATTY REECE The Volland Store

Title

Founder of The Volland Store

Occupation

Artist, Teacher, Philanthropist

Other Accomplishments

Founder & Manager of Warnoll House Retail Store Chairman of Harris-Kearney House Board Exhibit Director and Chairman of Society for Contemporary Photography Board on Board of Symphony in the Flint Hills

Interviewers

Summary

Nicole Bauknight Lucas Downes Angel Llanes Amber Summers

Graduating from University of Oklahoma with a degree in French and minor in History, Patty later went on to UMKC to get a Masters in Education.

While she never received a teaching position, she substituted for teachers on occasion. Though teaching never caught on for her, Patty spent her time volunteering. She first started working with People To People and the Pi Phi Alumni Club. Through her three children she found more organizations to volunteer for, including United Way, Boy-scouts, PTA, and Junior League. After her kids moved on from their activities, she helped managed and create a retail store that acted as a fund raiser for the Warnoll House. The Warnoll House Retail Store, coupled with a chairman position in the Harris-Kearney House, started Patty on her path of historic preservation. Through her interest in photography, she became involved in the Society for Contemporary Photography in Kansas City serving as their Exhibit Director and Chair. After going on to practice photography for some time, Patty joined the Board of Symphony in the Flint Hills, serving during their second year until their tenth. Patty later found the Nature Conservancy, and further onto the Volland Store.

During the two years of renovation and construction of their house in the Flint Hills, Patty and Jerry discovered Volland by simply driving around and through word of mouth. After seeing the Volland Store, in disarray at the time, they both realized the potential the store had. The walls were in good condition, the brick was of quality, and the building type was an anomaly in the vernacular architecture of Kansas. Although they were discouraged from rehabilitating it at first, Patty and Jerry kept their interest in the property. It was the Symphony in the Flint Hills that brought further light unto the Store and it’s history. Learning of Otto Kratzer and his photography bolstered their passion for the Store. Ultimately, it was this passion that delivered the property to them, placing Patty and Jerry into the very history of Volland that intrigued them in the beginning.

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DEREK & KATHERINE HAMM

Title

Coordinator at Tall Grass Artist Residency

Other Accomplishments

Coordinator of Tallgrass Artist Residency

Occupation

Designer/Curator

Curator and manager for The Bank Art Space

Interviewers

Nicole Bauknight Angel Llanes Amber Summers

Summary Derek and Katherine Hamm took over management of The Bank Art Space in 2016 and have been acting as coordinators and curators of the gallery.

The Bank is an inviting place where locals, travelers, and visitors meet, with fresh coffee, WI-FI, and contemporary art on display. Derek and Katherine are both native Kansans, graphic designers, and enjoy living on the prairie. They love sharing the experience of the prairie with other artists through the Tallgrass Residency Program. Their involvement with the Tallgrass residency is an extensive management position where they provide residents with lodging information and coordination, coordinate artist events with the Tallgrass Prairie National Preserve, and provide general hospitality support for the artists. The lodging of the program is channeled through local AirBnB and vacation rental housing with the allocation of funds from Tallgrass to provide living space for the artists through the duration of the program. They also allocate funding for transportation, reimbursement costs and the overall stipend provided to the artists. Derek and Katherine act as local guides for the artists, pointing them to inspiration and connecting them with local people that are beneficial to their works. They are an essential part to the day-to-day operations of the Tallgrass Artist Residency and look forward to their growing involvement within the program.

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COMMUNITY ENGAGEMENT

SHREEPAD JOGLEKAR Photography Professor

Title

Associate Professor of Photography at Kansas State University

Occupation

Photographer and Professor

Awarded Artist Residencies

National Center for Contemporary Art, Kronstadt, St. Petersburg; Weir Farm National Historic Site, Branchville, CT; The Millay Colony for the Arts in Austerlitz, NY; A.I.R. Studio in Paducah, KY.

Interviewer

Aoran Zhang

Summary Professor Joglekar is a lens based artist from Mumbai, India.

Having spent extensive time at 4 artist residencies, he felt that about a month is about a suitable amount of time for an artist residency; though it may vary between disciplines. Most of the residencies that he stayed at, encouraged interactions between artists of different discipline. During his 4-week stay in St. Petersburg, there was a flow of at least 2 different artists in and out of the studio during his stay. This increased the probability of meeting and collaborating with said multiple artists. He is of the opinion that this type of program strengthened the artist residency as a tool for networking.

In his experience, isolation provides a break from the day to day environment, and, for an artist, this can be crucial to really understand what your work needs to become. “When you’re in the environment that you’re familiar with you may be oblivious to the connections in between your ideas, that you can make when you get away from your familiar environment.” It gives you the opportunity to look at your work from a different perspective.

Photographers; are often attracted to places, that can become a basecamp for traveling around.

Joglekar stressed the fact that, “what you think about a place, [based on media, books, movies,] before you go there, is always different afterwards. Part of the artist residency experience is immersing yourself in that new environment, becoming familiar with the local life and to meet and interact with the people who live in that part of the world.

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4.

SITE CONTEXT

LOCATION EXISTING STRUCTURES RUINS

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SITE CONTEXT

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LOCATION Volland, KS

The Town of Volland is located between Alma and Alta Vista, about 20 minutes south of I-70.

The Volland Store was established as a place for commuters of the railway to stop for refreshments along their journey. Located in the rural Flint hills of central Kansas it is among the few towns that embrace the tallgrass prairie.

SOURCES: Google Maps Imagery 2017 VOLLAND, KS | A PLACE FOR ART

SITE CONTEXT

Interstate 70

I-3

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Volland, K

In te rs t

at e3

5

I-135

48

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HIGHWAY NETWORK

KS Volland Kansas is located just 10 miles from I-70 Hwy. I-70 Hwy is a major interstate that runs East to West across Kansas connecting the State to nearby Missouri and Colorado. It provides a fast route to Major Cities such as Kansas City with speed limits of 75 MPH. Other Instates include I-35 and I-135 that is 24 Miles long that connects other highway junctions to cities such as Wichita, Emporia, Manhattan, Dodge City, Garden City, Etc.

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SITE CONTEXT

Volland, K 20 miles

40 miles

100 miles

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MAJOR TOWNS AND CITIES

KS TOPEKA, KS

EMPORIA, KS

127,000 POPULATION 45 MILES 50 MIN DRIVE 24,800 POPULATION 60 MILES 75 MIN DRIVE

WICHITA, KS

390,000 POPULATION 123 MILES 129 MIN DRIVE

KANSAS CITY, MO

480,000 POPULATION 110 MILES 107 MIN DRIVE

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SITE CONTEXT

Manhattan

Junction City

Alma

Volland

Alta Vista

Council Grove

35 to 40 minute drive

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LOCAL TOWNS

MANHATTAN,KS

55,000 POPULATION 26.5 MILES 40 MIN DRIVE

JUNCTION CITY, KS

24,000 POPULATION 33.7 MILES 45 MIN DRIVE

ALMA, KS

792 POPULATION 10 MILES 15 MIN DRIVE

ALTA VISTA, KS

422 POPULATION 9 MILES 17 MIN DRIVE

COUNCIL GROVE, KS

2,000 POPULATION 25 MILES 35 MIN DRIVE

LAKE WABAUNSEE, KS

6,891 POPULATION 19 MILES 30 MIN DRIVE

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SITE CONTEXT

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EXISTING STRUCTURES House 1 House 2 House 3 Volland Store Blacksmith Shop Neighboring Resident

North of the Volland Store is the Blacksmith Shop where events can be held that can be opened up to the outdoors. Further north are three houses that face Volland Street that have fallen vacant since the 60’s. Behind the houses are three sheds and an outhouse that are also in need of repair.

South of the Store are the ruins of Otto Kratzer’s Sears Roebuck house.

Ruins

SOURCES: Google Maps Imagery 2017 VOLLAND, KS | A PLACE FOR ART

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SITE CONTEXT

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692 Sq.ft 2 bedrooms

North Elevation

North Elevation

South Elevation

East Elevation

West Elevation

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SITE CONTEXT

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952 Sq.ft 2 bedrooms North Elevation

West Elevation

South Elevation

East Elevation

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Level 1

Level 2 0’

4’

8’

16’

32’

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SITE CONTEXT

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North Elevation

South Elevation

South-west Corner

Partial West Elevation

2,837 Sq.ft 6 bedrooms

East Elevation

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Basement

Level 1

Level 2 0’

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8’

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SITE CONTEXT

North Elevation of Blacksmith Shop

North Elevation of Blacksmith Shop

West Elevation of Blacksmith Shop

West Elevation of Shed

East Elevation of Shed

Shed South Elevation

South Elevation of Sheds

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South Elevation of Shed

Elevation of Shed

Off site Structure

Elevation of Shed

Elevation of Shed

South Elevation of Shed

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SITE CONTEXT

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RUINS

The ruins that exist on site in the town of Volland, Kansas have been untouched for many years. What was once a Sears Roebuck Home during the early the existence of Volland, burned down in 1929 to what is now the existing foundation of the historic past. Sears Roebuck Homes were kit homes that had to be ordered through the mail and delivered by railroad box cars. Once on site the home would be assembled by its owners or hired laborers. These types of homes were the latest technology available to home buyers in the early parts of the 20th century.

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5.

TUNING IN TO VOLLAND LIGHT EXPERIMENT SIGNAL REVITALIZATION

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TUNING IN TO VOLLAND

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LIGHT EXPERIMENT Using Light to Highlight Place Our proposal for Volland, Kansas involves a few steps as outlined in the following pages. The goal of our proposal is simple, by using this exhibit we want artists and locals to see Volland in a controlled environment.

By using a search light and attracting nearby populations, we will draw users to the site. Upon arrival, we selectively highlight important attributes of Volland at night by using a series of controlled spot lights. We intend to carefully document the entire process, to further inspire future artists to see what Volland has to offer.

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STEP 1 SETTING THE SCENE The stage is already set for Volland to have full potential of a night time study. The light pollution around Wabaunsee County is extremely low due to its unique separation from large city centers. This is in part why star gazing events are so successful in Volland, KS.

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TUNING IN TO VOLLAND

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STEP 2 SETTING THE TRAP When combining the pitch black skies of Volland and a search light with a 15 to 30 miles viewing range, we hope to capture the attention of drivers off of I-70 highway and populations of surrounding towns.

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TUNING IN TO VOLLAND

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STEP 3 SHOWCASE PLACE

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1 Railroad 2 Ruins 3 Forest 4 Volland Store

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5 Aging Blacksmith Shop

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After drawing people to Volland, we can now selectively showcase the place by having 6 “stations�. People will find their way to these 6 controlled environments where spot lights will selectively highlight important attributes of Volland.

The dark skies of Volland help to isolate the concentration of the observers. After understanding the place, patrons can then immerse themselves underneath some of the darkest skies in Kansas and experience the twinkling stars.

Design + Make Studio 2017

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TUNING IN TO VOLLAND

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SIGNAL Creating a Landmark y

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Current signage in Volland consists of informational placards that inform visitors where to go and indicate places of residency. We are building on that idea but expanding the realm of information that is communicated.

The new Volland signage will be customizable pieces in one sign, to better inform visitors. With pieces that say who is in the store, what exhibit is there, what artist is visiting and their media and anything else that might be relevant to that day or place. The first sign will be for the Volland store itself.

Potential signage such as the caboose or other designed elements are also conceptually considered as signals for Volland.

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TUNING IN TO VOLLAND

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CONCEPTUAL SIGNALS In Development

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TUNING IN TO VOLLAND

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REVITALIZATION Revelations Through Fire and Light A Community Event to mark the beginning of a new and exciting future in Volland.

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TUNING IN TO VOLLAND

Volland is full of buildings with incredible character and rich history; however, some of these structures have felt the test of time. The dilapidating sheds are on the verge of collapse and pose a threat due to the infestation of wasps and other insects. By de-constructing and using the wood for a communal event, such as a bonfire, a great amount can be learned about the community. We can learn about their wants and needs, their vision of a future Volland, and simply get to know the people in the surrounding area. If scheduling permits, the store could be opened up to showcase a new exhibition or even Otto Kratzer’s photography. This would further strengthen the connection with Volland’s past and in turn - strengthen it’s future.

While none of us want to see a historical structure disappear, these sheds have less connection to the Volland’s history than the house or the store. The burning of these structures is intended to be just as significant as the burning of the Kansas Prairies. It marks a rejuvenation of life and a new growing season for crops and grazing fields. This idea can be translated into Volland in the form of a new future, one full of success, creativity, and community. This Community Event would also provide a great opportunity to familiarize ourselves with Alma’s volunteer fire department and get to know the people who risk their lives for the safety of the community that we seek to include in our endeavors.

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Needless to say, the proper precautions will be taken to ensure the safety of anyone attending and a permit will be submitted to the appropriate authorities. The most suitable area will also be chosen, as the sheds cannot be burnt in the areas where they currently reside. While all the wood will be used, other materials will be recycled if possible and any nails that remain after burning will be collected. The cost of this event will also be minimal, as the wood is being provided. The only costs would be refreshments and food for the people attending.

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6.

PROGRAMMING

PRECEDENT STUDIES S.W.O.T. ANALYSIS PHASE 1: RESIDENCY DEVELOPMENT PHASE 2: COMMUNITY FOOD ENGAGEMENT PHASE 3: LODGING EXPANSION

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PROGRAMMING

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ARTIST RESIDENCY IN SENEGAL A Sustainable Program

Program Name The Artist Residency in Senegal

Location

Senegal, West Africa

Located in the rural village of Sinthian in south-eastern Senegal, this cultural centre and artist residency offers artists a divers range of programs that provide the people of Sinthain opportunities to discover new forms of creativity and cultivate skills. The community centre/ artist residency functions as a hub for markets, education, performance and gathering for the local community and residence artists. The centre/ residency was constructed using only local materials such as bamboo, brick and thatch. The inverted pitched roof incorporates an innovative design using locally grown and harvested materials that provided a low cost and sustainable design. The thatched roof is capable of collecting 40% of the village’s domestic water usage during rainfall .

The retained rainwater is siphoned into a reservoir where it is readily available for the needs of the community. It is also recycled for agricultural projects during Senegal’s 8-month dry season.

By utilizing the local materials for this project it provided a cultural and social extension for the people of Sinthian.

The design is cost effective and easily maintained due to the obtainable materials located in the surrounding environment. The idea was to retreat from vernacular architecture to 21st century engineering, while maintaining the use of local materials that the community is familiar with to create a piece of architecture that speaks with its local occupants.

Researcher

Keegan Amos

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PROGRAMMING

Robert Rauschenberg in his Studio

Artists get involved with cooking

Shuna Lydon, First chef to participate in 2016

Fish House

Beach House

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FOOD FOR THOUGHT Chef-in-Residence

Program Name Rauschenberg Artist Residence

Location

Captiva, Florida

Researcher

Evelyne Chokkattu

Part of the enticement of a rural artist residency is its disconnect from the rest of the world. But in order to sustain this separation from the urban environment the artist program needs to seek ways to stand alone as a community.

January. The CIR prepares meals for the artists in residence, while continuing to implement and maintain sustainable practices and has the opportunity to pursue personal culinary interests and research.

Volland should consider expanding and utilizing the existing vegetable garden to its full potential and broadening the residency program to include culinary arts.

This inaugural program aligns with the Foundation’s focus on environmental conservation and stewardship, stemming from Robert Rauschenberg’s longstanding concern for the safekeeping of the environment, the notion of individual responsibility, as well as his love of food and cooking.

At the Rauschenberg Artist Residency, The Chef-in-Residence Program (CIR) was created in January 2016 partly in response to the resident artists’ appeals for more fresh, local Florida food, and to prioritize the Foundation’s emphasis on environmental conservation and stewardship.

The position is for one year, beginning

The selected candidate will have 5+ years experience working in a commercial kitchen, with at least two years in management.

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PROGRAMMING

In-house and out of house studios.

Out of house living and studio quarters.

Art Farm Site Plan

Compilation of 17 buildings to create the Art Farm.

Views from the top of the Art Farm.

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THE ART FARM Rural Artists Residencies: Solitude

Program Name The Art Farm

Location

Marquette, Nebraska

Researcher

Tanner Lopez

Source: Art Farm: www.artfarmnebraska.com

Art Farm is a compilation of 17 buildings that were saved from nearby farms.

Central to Art Farm is a 12,000 SF barn complex. A project stretching seven years and joining them into one unit.

The barns range from 60-100+ years old, they tell a visual story of an owner’s attempt to adapt with the changing times. These structures follow the tradition of vernacular architecture based on programmatic observation and function. Barn builders adapted a plan and a shape from a general concept and then individually modified it to serve their needs. In that practice, the work at Art Farm of restoring, repairing, and converting barns for living and studio space continues.

Art Farm is located in Marquette, Nebraska, 80 miles west of Lincoln, Nebraska. The nearest shopping centers are Auroa (12 miles south) and Central City (12 miles north).

Marquette population is around 230.

The landscape varies from flat, to gentle rolling, to shallow wetland basins mainly hidden by cornfields. Two miles north of Art Farm is the Platte River where the flat landscape changes into clay bluffs. There is not much elevation change for miles, one only needs to look up to experience the basic forces of nature.

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PROGRAMMING

Work by Corey Antis of studio space

Flint Hills near Prarieside Outpost

Image Caption Residency program work space

Outpost space viewed from the Prarieside Cottage

Work by Corey Antis

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PRARIESIDE COTTAGE + OUTPOST Artist Residency Program

Program Name Prarieside Outpost Artist Program

Location

Matfield Green, Kansas

The Prarieside Outpost Artist Program is located near Matfield Green, Kansas which resides in the heart of the rolling Flint Hills of Kansas where it serves as a artist retreat. The Outpost portion of the program includes a studio that is located adjacent to the house where visiting artists have a space to create. The cottage and outpost space are surrounded by 8 acres of land, which allows for the visiting artists who typically live in an urbanized environment to be able to isolate themselves into the beauty of the surrounding landscapes. Like the Volland Store, Prarieside Outpost Artist Program works in conjunction with the Tallgrass Artist Residency to provide its invited artists with an opportunity for connection within the Great Plains

of the Midwest. Prarieside Cottage + Outpost invites in artists of varying mediums and allows them to have a peaceful, nature oriented experience.

The Tallgrass Residency Program seeks to create connection and conversation across the Great Plains by inviting applicants who currently live in a place that is ecologically considered prairie even though they might be urbanized.

Since there is only a fraction of the unique tallgrass ecosystem remaining, the Tallgrass Residency Program helps to educate through the impacts that it has on the artists, their works and getting presented to surrounding communities.

Researcher

Kaydee Seematter

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PROGRAMMING

Field View

Residence Porch

Winter View

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Bee Keeping

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CONNECTION TO NATURE Crosshatch Center for Art & Ecology Crosshatch Center for Art & Ecology builds strong communities through the intersections of art, farming, ecology and economy.

Offered Residency Programs - Performing Arts, Visual Arts, Design, Writing

Program Name The Artist Residency in Senegal

Location

Senegal, South Africa

Researcher

Jonathan Eden

Edible Trails Project - Imagine our public spaces full of plants that produce an abundance of fresh, delicious food each year—edible forest landscapes of fruit and nut trees, berry bushes, and more.

Imagine kids, adults, local businesses, and organizations all working and learning together to repair the ecosystem while increasing access to local, sustainable food. The Edible Trails Project exists to facilitate this transformation.

can be pulled onto farms, community gardens, farm markets or your own backyard for canning. Preservation party at the peak of produce ripeness. Preservation Station is currently outfitted for hot water bath canning of high acid foods, as well as pickling, fermenting and jellying. In the future, the trailer will include equipment for pressure canning, meat curing, drying, freezing, smoking and other traditional preservation techniques.

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PROGRAMMING

Active Twitter account

Active Facebook account

A capture of MacDowell website

A faculty from MacDowell is giving a seminar to students

Vimeo has videos of their activities and of the artists working space

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CONNECTION WITH THE SOCIETY MacDowell Colony

Program Name MacDowell Colony

Location

Peterborough, NH

Researcher Aoran Zhang

MacDowell Colony is one of the oldest artist residencies in America, and it’s located at Peterborough with the view of Mount Monadnock to the west. The mission of The MacDowell Colony is to nurture the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination.

MacDowell is well connected with the society in the following ways, so that people can always learn about things going on through every kind of social media. This is significant to Volland since its located at an isolated place, and it does need to sell itself so that more artists will come and stay.

Documentation: Artists are getting information from social networks, like twitter, facebook,

Vimeo, and they continuously update all their social media by showing the latest activities and artists life there. Updating is necessary, in this way, it doesn’t feel ghosted to the public.

Website: Their website is well organized, and audiences can easily find everything they need on the website. Also, their web-page on Alliance of Artist Communities is also sorted out well which helps them to promote their brand.

College: The left bottom image is showing students from a near by college that are having a seminar hosted by one of the faculties from the residency. Students will become their potential residents.

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SKOWHEGAN SCHOOL School of Painting & Sculpture

Program Name Skowhegan School of Painting & Sculpture

Location

Madison, ME

The Skowhegan School was established in 1946 by four artists that desired to create a space for art development and cross collaboration between art fields.

The School has since become a haven for artists of diverse medias to come and develop their art while receiving feedback from professionals and their peers. The summer residency hosts 65 students from diverse backgrounds for nine weeks. The residency sits on 350 acres of historic farm land with a nearby lake and woods to enjoy. Each artist gets their own studio space with access to multiple studio creation spaces and a library.

aimed at furthering the residency artists education. The program is designed around fostering peer collaboration in order to advance the artists individual creations. Artists come without a preconceived program and leave with works of art that are stronger because they were created in community.

At the end of the residency the artists get the opportunity to showcase the art they have made during the residency in downtown New York. This is an invaluable opportunity for growing artists to establish themselves as professionals and become recognized by larger art figures.

During their residency established artists come for one week visits to give individual critiques as well as a lecture

Researcher

Nicole Bauknight

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PROGRAMMING

View to Bay Rendering

Axonometric View

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Axonometric Section View of Ground Floor

Courtyard Rendering

Elevation

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OLD RUSSIAN CONSULATE Lucien Puech Architecture

International Artists Residency as a Public Cultural Foundation The Artist Residency in Hakodate

“The old Russian consulate is a charming historical building located on the Mont Hakodate slopes. The project aims to enhance its potentials as a first class destination in the city. Surrounded by temples and at the hedge of the Mont’s forest, its garden would be a generous retreat and meeting place for artists, inspired by the stupendous view toward the city bay. On the model of the Villa Medicis in Rome, the Consulate will host an International Artist Residency in Hakodate. Artists will be hosted for short to midterm stay, create and expose their work into the new exhibitions rooms. Exchange between international and local designers will be organized into workshops with top end equipments.

A sharp glass facade, reflecting the bay landscape and the Consulate’s garden, creates a strong architectural gesture.

The private artist residency program is dispatched on a strip along the south retaining wall. The five artists’ studios, made of solid wood panels, are composed of a working room with a terrace opening through the garden and a living room on tatami at mezzanine oriented toward the south. Two small baths for artist concentration and wellbeing are embedded into the garden’s topography. Workshops’ skylights and the street shop complete the plan. A café conceived as a translucent winter garden offers a generous deck for events above the Hakodate famous scenery.”

Location

Hakodate, Japan

Researcher

Source: DIVISARE’s website

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PROGRAMMING

Long Studio

Squish Studio

Tower Studio

Bridge Studio

Fogo Island Inn

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FOGO ISLAND Artist Studios

Program Name Fogo Island Arts

Location

New Foundland, Canada

Fogo Island is an elemental place of subtle and abiding beauty – a place where time is not obliterated by the circulation of everything. Its people are inextricably bound to this place where they belong. They are a culturally rich and resourceful people who live in close connection with each other and with their people who have come before. The Shorefast Foundation works with the people of Fogo Island to find ways to preserve this special place and this special culture. The 5 structures of the Fogo Island Arts represent one of the methods by which the culture of the Newfoundland natives is preserved and sustained. Designed

by Saunders Architecture for the Shorefast Foundation on Fogo Island, Newfoundland, Canada, the project is

the basis for an Arts Residency Program that started in 2010. The Studios are built in remote settings on Fogo Island in conjunction with traditional Newfoundland salt-box homes in various communities. The idea behind the forms of the various studios was to create a bold geometric structure to starkly contrast, yet lay silently in the striking natural environment. The studios are all oriented towards the sea and elevated above the ground to provide the resident artist with a feeling of being unobstructed and unbound.

The materials and construction methods chosen reflect that of the local architecture of Fogo Island. The environment will leave its marks on the studios by weathering the structures over time.

Researcher Karl Ndieli

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PROGRAMMING

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NORTH MOUNTAIN ARTIST RESIDENCY

Connecting artists and nature

Program Name North Mountain Residency

Location

Shanghai, West Virginia

Researcher Angel Lanes

North Mountain is located on 400 mountainous acres of apple orchards and woodlands in the Eastern Panhandle area of West Virginia, near the small town of Shanghai. From the middle of the 19th century until the beginning of the 21st, the property was one of many active apple farms in the region. Now dormant, the apple trees primarily feed wildlife, along with the occasional passing resident. Walking trails on the property lead to old orchards, a pond, and forests of oaks, maples, and sycamores.

The residency maintains a library with collections of literature and reference; graphic arts, typography, printmaking, and photography; architecture and urban/space planning; and ecology and Appalachian culture. The residency is focused on trying to increase equity and accessibility in the arts for those of different backgrounds, perspectives,

and practices. They are doing this by privileging certain types of applications through juried and curatorial processes.

They are also strengthening their connections within the cultures and ecologies local to West Virginia’s Eastern Panhandle. They highly encourage their residents to focus on the geography, culture, and ecology of the site. In doing so they also work in collaboration with neighboring organizations to curate, direct, and facilitate research at the residency.

Though they haven’t yet been able to provide stipends to residents, it’s a long-term goal they are working towards. They currently provide residents and staff with comfortable living and working space, access to material resources, research assistance, documentation, and opportunities to publicly share their work.

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PROGRAMMING

Local teen art mentor program

Individual artist studio work space

The Creative Community Housing Project business model

Public exhibit of the work created during the residency

Community outreach through the Capture Program

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CREATIVE COMMUNITY A Housing Project

Program Name The Creative Community Housing Project

Location

Atlanta, Georgia

Researcher

“It is our mission to enrich and strengthen local communities through quality arts-based education and outreach, while celebrating and elevating the city’s visual and performing artists.” Artists are provided free studio space and housing. It is an open network where artists interact daily, collaborate and build diverse connections. Each resident artist also receives customized professional development workshops and teacher training sessions. This platform not only enables artists to create powerful bodies of work, but also to become advocates of social change and educational leaders in their respected fields. In exchange for housing and training, artists give back to the local community through Community Arts Programs. The Creative Community

Housing Project is a vital force in Atlanta’s arts community. TCCHP strengthens and unites arts, education, community and commerce by creating an arts ecosystem that empowers eager citizens to recognize Atlanta’s potential.

TCCHP patrons donate subsidized housing and free studio space to support our artists as they serve Atlanta neighborhoods by generating vibrant and fertile communities poised for economic growth and development.

They encourage the learning and teaching among peers who specialize in different forms of expression. Once in the program there is opportunity for the artists to join a mentor-ship program.

This links an emerging artist with a more established local artist to pass knowledge down and to create the most powerful collection as possible.

Amber Summers

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PROGRAMMING

Rick Lowe, Founding member of PRH

Community Supporting PRH

Aerial Photo of PRH

Round 46 - Black Woman Artists for BLM

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PROJECT ROW HOUSES Tapping into Houston’s History

Project Row Houses An Artist Residency Focusing on Houston’s History

The Third Ward Houston, TX

Researcher

Lucas Downes

PRH is an artist residency rooted in the Third Ward in Houston. Started by Rick Lowe(featured above) and a group of colleagues and friends, it is a residency immersed in the culture and history of the neighborhood.

It is that exact community that directly influences the work produced by the artist’s in-residency. Though the program was only founded in 1993, it’s nestled in one of the oldest African American communities in the city. PRH holds two biannual events each year, one starting in March and the other in October, which they call Rounds. The Rounds last

4 months and are held in a series of 7 Row Houses that are opened up to the public for viewing. It’s these Rounds that help connect the community and keep the town’s history thriving.

Round 45 demonstrates the historical focus of the Residency.

This Round consisted of 7 different artists deeply rooted in the Artist community in Houston.

The Artists produced work acting as a narrative for the culture, place and identity of African Americans in the neighborhood.

Each of these 46 Rounds are all different in artist, media, and delivery method - but they’re all intended to help the areas culture and history continue to flourish.

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IMPLEMENTATION PLAN

We seek to revitalize a dwindling community through the development of a program that fosters artist creativity and community engagement.

Strengths

Isolation / silence Middle of everywhere Space to work with Landscape Nearby towns Existing structures Train culture No light pollution Rich history Wildlife / livestock Natural ecosystem Lack of cell service

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Weaknesses

Opportunities

Threats

Off-site / dilapidated buildings Difficult to get to Lack of signage No immediate amenities Lack of cell service

Existing houses / structures Isolation Renovate / create new structures Fill residency need County connection Farmers market Nature / landscape

Location Pests Funding Natural disaster Local community push back Dying rural communities Residency competition Chemical compounds from railroad

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IMPLEMENTATION PLAN

Relevant Salient Features Community Involvement

Artist Attractions

Historical Rehabilitation

Community connection Mentor ship Professional recognition Community outreach programs Community interaction

Prairie Isolation Food incorporation Views Mentorship Professional recognition Community outreach programs

Historical ties Vernacular architecture Rehabilitated spaces Spatial organization Local material incorporation

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PHASE I Residency Development The Residency Program in Volland is meant to create a comfortable place for artists to create work while being impactful and involved in the community. The Program is split into two different categories: Working Spaces and Living Spaces. The Working Spaces are intended to be in seclusion, allowing the artists to focus on their own work and push the boundaries of their techniques. The Living Spaces are designed to force the artists to interact with each other. This schism between isolation and connection allow the artists to both collaborate and learn, as well as focus and hone in their skills.

Image from Installationmag.com VOLLAND, KS | A PLACE FOR ART

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IMPLEMENTATION PLAN

WORKING SPACES

- STUDIOS Studio spaces are intended to be three individual spaces for the artist to work in. The separate work spaces will allow each artist to develop their ideas in an their own environment. Attached to the studios will be necessary support spaces such as storage for supplies and work in progress. The studios will be set up for a variety of mediums, in order to reach more artists and cater to their needs.

- STUDIO SHOP The shop is intended to be a communal work space to develop larger projects requiring more extensive equipment and materials. The Shop will provide woodworking equipment and other larger tools for the artists. Adjacent to the Shop will be a Finish Room for more hazardous material applications.

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LIVING SPACES

- BEDROOM The Bedrooms are three separated living quarters that give each artist their privacy and the ability to focus on their work. Attached to the bedrooms will be a closet for storage. There will be three bedrooms, but only two bathrooms that will be shared.

- DINING While much of the working and living spaces are separated, much knowledge and skill can be attained form collaboration and interaction. To foster this kind of contact, the Dining and Kitchen are communal spaces which will bring the artists together to cook and eat with each other.

-VESTIBULE While not necessarily a primary space, the Vestibule is an important piece that links all the spaces together. Along with the Vestibule will be a closet space for storage.

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IMPLEMENTATION PLAN

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PHASE II Community Food Engagement Food is an important part of community and culture. Integrating food into the artist residency program broadens the possibilities of community engagement with the artists. Creating outreach programs such as community food gatherings, chef-in-residencies, farmers markets and food trucks brings in fresh food and fosters community relationships. We envision this being an added element to bring in a different demographic into the Volland community.

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IMPLEMENTATION PLAN

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PHASE III Lodging Expansion The current program has lodging for three residents. The opportunity to expand the number of residents housed at once is crucial to growing the success of the program. The idea for phase three is to expand upon the existing housing to grow the artists in residence.

Increasing housing on site not only gives the opportunity to Volland’s residency program but provides the opportunity for Volland to work with other artist residencies in Kansas.

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INTRODUCTION

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7.

CONCEPTS

SOUTHERN HOUSE MIDDLE HOUSE NORTHERN HOUSE

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CONCEPTS

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SOUTHERN HOUSE CONCEPT STUDIES Exploration of concepts and ideas for integreating house 3 to Volland as a part of the Volland Institute Residency

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CONCEPTS

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LINKING

This concept works to link history and modernity through the connecting link that creates physical separation but allows kinetic movement.

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CONCEPTS

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CONNECTION

This concept separates the old from the new through layers of time while the usual connection represents the time compounded together. The physical connection of space interconnects the two.

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CONCEPTS

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LUMINOUS

The reconfiguration of spaces allows for the dynamic of dark and light to illuminate the unique qualities of interior space and creates spatial expansion.

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CONCEPTS

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APERTURE

The interior spaces are currently characterized by extremely awkward and cramped spaces. The ideas in this concept serve to overhaul the interior spaces by drawing more light inwards via large apertures while simultaneously maintaining the original aesthetic qualities of the front facing facade conditions.

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CONCEPTS

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MIDDLE HOUSE CONCEPT STUDIES Exploration of concepts and ideas for integrating house 2 to Volland as a part of the Volland Institute Residency

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BRIDGING TIME

History and context are key elements in this concept.

Offsetting the historical shell of the house structure unveils the relationship between history and the modern era in which Volland is entering.

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BREAKING THE BOX

This concept unlocks the potential of the house by freeing the spaces from their existing confines. It expands the interior space beyond the structure, into the landscape to create an exterior connection.

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NORTHERN HOUSE CONCEPT STUDIES Exploration of concepts and ideas for integrating the northern house to Volland as a part of the Volland Institute Residency

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CONCEPTS

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EXPANSION

The relationship of Volland and interior space are fundamental for the individual connection of place and landscape. Through the expansion of interior space outwards, this connection is achieved.

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WRAPPED

Interior space and landscape are the major elements of this concept. Perforating interior volumes with exterior views floods the spaces with light and connects them to the surrounding landscape.

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FLEXIBILITY

This concept maximizes the efficiency of the structure by expanding the fluidity of space while responding to the surrounding landscape and neighboring houses.

VO LLAND, KS | A PLACE FOR ART